Eldho Issac

Eldho Issac’s name keeps popping up in film circles for good reason—his work in Thelivu Sahitham (2025), Manasa Vacha (2024), and that earlier gem Ishti (2016) shows off a pretty wide range. The guy doesn’t stick to one lane; you can tell he’s not afraid to take on projects that mess with the usual formula. Thelivu Sahitham is the sort of film that quietly gets under your skin, digging into the messiness of guilt and redemption. Issac’s touch is subtle—he lets the story breathe, never forcing drama but letting it simmer until you can’t look away. Manasa Vacha, on the other hand, swings in a different direction. It’s got this intimate vibe, almost like you’re eavesdropping on someone’s private journal. There’s a warmth to the way he handles relationships, but nothing’s sugarcoated. He nails those awkward, real moments that make you wince but also kind of laugh because, hey, that’s life. And then there’s Ishti. Set against a traditional background, it doesn’t just play the nostalgia card. Instead, it pokes at the old ways, questioning stuff that’s been swept under the rug for ages. Eldho Issac brings out those quiet rebellions that explode in the smallest gestures—a glance, a sigh, a word left hanging. Across these films, he’s got this knack for pulling you in, making even the smallest moments feel huge. It’s clear he’s not just chasing trends; he’s carving out his own path, and you can feel it in every frame.